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Produced in May 1998 in New York and starring Peter Falk, Mr. Peters' Connections takes place, in Miller's own words, in "that suspended state of consciousness when the mind is freed to roam from real memories to conjectures, from trivialities to tragic insights, from terror of death to glorying in one's being alive." Within the confines of his mind, Mr. Peters interacts with the living members of his family and his long-deceased brother and lover, as well as the imaginary Adele, a black bag lady, who is a figment of Peters' imagination and one of Miller's most original characters. "A work of rare honesty and dignity" (Fintan O'Toole, New York Daily News), Mr. Peters' Connections uncoils with ferocious, life-affirming intensity.
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《书目》(Booklist)书评
Often called a naturalist, Miller yet writes plays that are as much about dreams and people lost in them as about reality. Half of Willy Loman's tragedy in Death of a Salesman is that he hasn't lived in the real world in decades. Even The Crucible, while grounded in the historic colonial Massachusetts, focuses on mass hallucination. Rarely, however, does Miller allow the dream world to invade a play as completely as in this extended one-act set entirely in the mind of snoozing Mr. Peters. It develops like some fevered dream, with long-dead relatives popping in for short visits and people making the most extravagant demands. Sections of it seem like outtakes from earlier Miller plays, especially--in a sequence featuring the protagonist's Marilyn Monroe^-like significant other, who ignites the libido of every man she meets--After the Fall. More often, it seems more like something from Edward Albee's zoo, which is no bad thing. It is fascinating to see America's greatest living playwright at work in a totally surreal world. --Jack Helbig
《图书馆杂志》(Library Journal )书评
At the age of 84, 50 years after he received the Pulitzer Prize for Death of a Salesman, Miller remains the premiere living American dramatist and one of the three or four greatest of this century. This play, which debuted Off Broadway last year with Peter Falk in the title role, is Miller's strongest play in 30 years. Effectively using absurdist techniques, Miller places Mr. Peters, a retired pilot, in an abandoned bar, where he encounters his deceased brother, an ex-lover and the man he imagines she might have married had she lived, his daughter and her boyfriend, his wife, and a bag lady who, like most of the other characters, may be a figment of Peters's imagination. With all of them, he seeks connection and, if possible, an answer to the question, "What is the subject?"Äor, indeed, whether we even need a subject any longer. These existential questions are old ones; Miller gives them stunning dramatic shape and force. Essential for all American literature collections.ÄRobert W. Melton, Univ. of Kansas, Lawrence (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.